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1.
Narrative analysis offers a powerful and accessible means of understanding the ways in which individuals experience learning across a range of educational sites. Drawing on a recent study that explored ‘dyspraxic’ pupils' experiences of drawing from observation, this paper offers an insight into the potential that narrative analysis has for enhancing our understanding of the ways in which individuals experience complex contexts for learning, where the fields of art education, ‘special’ education and inclusion intersect. I argue here that a narrative approach can enhance our understanding of pupils' experiences of learning by a capacity to resist the compartmentalization of experience. The ‘natural’ drive to use narrative as an interpretive procedure for explaining departures from the ‘norm’ is also discussed, with the concepts of ‘breach and exception’ offering a useful frame for exploring the spaces between centres of practice in art education and the potentially ‘de-centred’ ‘dyspraxic’ learner.  相似文献   

2.
Contextual studies (CS), ‘theory’, ‘visual culture’ or ‘art history’ (amongst other labels) refer to a regular and often compulsory feature in art and design education. However, this takes many forms and can sit in a variety of relationships with the practical elements of such courses. This article is based on mixed method research on CS in the BTEC Extended Diploma in Art and Design, a course that makes up a substantial proportion of pre‐degree provision in the UK. We describe aspects of the wider study then draw on two cases to illustrate and discuss the implications of different approaches to the curriculum and its integration. Our analysis suggests that a seemingly progressive flight from a discrete CS towards a designed form of integration can have unintended negative consequences, and in the light of this we suggest some ways in which course teams might reflect on their practices.  相似文献   

3.
Central to this paper is an analysis of the work produced by a year 10 student in response to the ‘Expressive Study’ of the art and design GCSE (AQA 2001). I begin by examining expressivism within art education and turn to the student's work partly to understand whether the semi‐confessional mode she chose to deploy is encouraged within this tradition. The tenets of expressivism presuppose the possibility that through the practice of art young people might develop the expressive means to give ‘voice’ to their feelings and come to some understanding of self. I therefore look at the way she took ownership of the ‘expressive’ imperative of the title by choosing to explore her emerging lesbian identity and its position within the normative, binary discourses on sex and sexual identity that predominate in secondary schools. Within schooling there is an absence of formal discussion around sex, sexual identity and sexuality other than in the context of health and moral education and, to some extent, English. This is surprising given the emphasis on self‐exploration that an art and design expressive study would seem to invite. In order to consider the student's actions as a situated practice I examine the social and cultural contexts in which she was studying. With reference to visual semiotics and the theoretical work of Judith Butler, I interpret the way she uses visual resources not only to represent her emerging sexual identity but to counter dominant discourses around homosexuality in schools. I claim that through her art practice she enacts the ‘name of the law’ to refute the binary oppositions that underpin sex education in schools. This act questions the assumptions about the purpose of expressive activities in art education with its psychologically inflected rhetoric of growth and selfhood and offers a mode of expressive practice that is more socially engaged and communicative.  相似文献   

4.
Art educators continuously struggle to understand what multiculturalism ‘looks like’ in the art classroom. This has resulted in multicultural art education becoming superficial, in which art teachers guide students through art projects like creating African masks, Native American dream catchers, Aboriginal totems, and sand paintings, all without communicating the context of the art. This type of multiculturalism essentializes cultures, and builds Western, myopic narratives about groups of people, specifically about their ‘Art’. Critical multiculturalism is a power-focused upgrade of multiculturalism that calls for a critique of power and demands recognition that racism and other discriminations are enmeshed in the fabric of our social order. Teaching through a critical multiculturalism framework helps teachers dismantle Western, normalized narratives and produce counter-hegemonic curriculum that contextualizes culture and reveals its fluidity. In this article, the author shares a teacher action research study in which she describes what critical multiculturalism looks like in her art education classroom. The study focuses on ‘being’ a critically multicultural educator versus ‘doing’ critical multiculturalism. Such a position counters the idea that critical multiculturalism is a thing to complete, but instead is an ongoing process that rests on specific ways of thinking and considering the classroom, curriculum, and students.  相似文献   

5.
ABSTRACT

‘Changing Play’ is an ongoing project initiated by education curators from the Serpentine, a prestigious London art gallery, working with the Portman children’s centre nursery. Viewed by curators as a collaboration between artist, children’s centre staff and parents, and the gallery, Changing Play combines art and action research, and expands the boundaries of the gallery. In the words of one of the education curators, ‘the project is about social change’. It is not for the gallery curators to develop proposals but to ‘co-develop work’. Ethnographic evidence employing narrative, visual arts informed analysis is being used by the gallery to report to funders, inform iterative planning and inform future directions. The paper focuses on methodological questions on ways in which ethnographers might meet artistic projects both during and after being in the ‘field’. It takes the form of a ‘loose parts’ montage which reflects the ways in which the art project was conducted.  相似文献   

6.
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7.
In art education we need methods for studying works of art and visual culture interculturally because there are many multicultural art classes and little consensus as to how to interpret art in different cultures. In this article my central aim was to apply the intertextual method that I developed in my doctoral thesis for Western art education to explore whether the method would also work from a non‐Western point of view. My hypothesis was that it is possible to find local and global differences that arise from selected texts and study them interculturally. As postmodernism calls attention to marginal areas, I applied my method to a form of visual culture that is not well known in the European art education context, the Japanese kamishibai which can be translated as Japanese paper theatre. Based on the results, my study will propose a method for understanding visual culture and the multiple relations ‐ local and global ‐ between different cultures. Japanese paper theatre also offers an interesting potential for using visual and verbal stories in the theory and practice of art education.  相似文献   

8.
This article proposes to explore the relationships between art education and the development of complex thinking (proposed as metacompetence in this study) from a theoretical perspective. This is an approach that arises from contemporary conceptions about art, which is an intrinsic relationship between the artwork and the creative and critical character towards representation systems. Emphasising the definition of complex thinking proposed by Mathew Lipman serves as a guiding axis to try to establish the cognitive processes that compose it. Among the main findings is that the development of complex thinking and cognition occurs through action and interaction with the environment, thus linking to the notions of ‘situated competence’ and the ‘complex approach to competences’. By including cognitive and metacognitive processes, it allows us to postulate complex thinking as metacompetence. In addition, it is proposed that the use of learning methodologies (under a competence‐based approach) could contribute to an art education where students produce artistic works that involve critical, creative processes or divergent results. It is also necessary that both the curriculum and the teachers encourage an expanded and interdisciplinary vision, understanding that art is not circumscribed to a specific discipline.  相似文献   

9.
This paper describes the conditions that make learning how to learn in art possible. Rather than privileging risk-taking or the playfulness of primary process thinking, I will use a Wittgensteinian understanding of mind to argue against this approach in favour of one that raises students’ awareness of the cultural and cognitive ‘backgrounds’ (forms of life and language games) against which our individual actions and risks are framed and understood. Instead of building art education on a metaphysical view of the self, this paper will advocate a social constructivist approach to curriculum, pedagogy and assessment to create a cognitive map for ‘the background’ of art. When these three are practised in a mutual way they connect individual minds to the resources or mind of culture which, in turn, makes lifelong learning possible, reclaiming the idea of art-for-life’s sake.  相似文献   

10.
Current education policy discourse in Ireland, as elsewhere, is replete with reference to innovation, creativity and enterprise. Meanwhile, the ‘pedagogical turn’ is a dominant motif in current discourse in art practice, curating and critique, in Ireland and internationally. This article firstly considers some of the implications of the ‘turn’ as a concept in art and education. In that context, it goes on to address changing patterns of curriculum design, development and reform in Ireland. Next, it describes the evolution of Irish education policy over the past decade in the context of global experiences. The particular experience of art education in Ireland is then considered in the light of the curriculum culture and the wider policy discourses already identified. Finally, some implications of the Irish experience are addressed, in terms of art practice at the edges of art education, and art education at the edges of education practice.  相似文献   

11.
Contemporary art requires that art and cultural educators reposition encounters with artefacts, images and performances into a context for new discourses. Whereas digital media and other aspects of visual popular culture predominate the frames of reference of school‐age children, their context (codes) of reference, in large part, do not contain those used by art and cultural education professionals. Most art professionals (con)textualise their interpretations from a more formalistic tradition, unlike school‐age children, whose use of iconographic elements from their experiential subcultures, are projected into the content of their visual encounters. In order to find relevancy for today's art education, interrelationships between the codes of the participant and visual experiences must be built upon the development of new strategies between viewers, artefacts and experts. This article presents the background and use of dialogic strategies for new discourse from the‘Open Dialogue Club’programme between the Department of Art Education at Charles University and the Galerie Rudolfinum, a contemporary art space, in Prague, Czech Republic.  相似文献   

12.
The paper discusses factors impacting on boys’ educational aspirations at two case-study schools in urban Jamaica. It focuses on boys’ experience of their educational environment in relation to social, cultural and economic factors, which shapes the nature of their aspirations towards higher education. The study utilised Bourdieu’s notion of ‘capital’ grounded in a critical realist meta-theoretical framework, the narratives of the participants and the researcher’s experiential understanding as a participant observer to explore boys’ aspirations over a 12-month period. The findings from the study suggested that boys’ educational aspirations are complex and affected by their level of capital in relation to persistent narratives from family and the Jamaican Diaspora within high-income countries like the UK, the USA and Canada.  相似文献   

13.
A key aim of this article is to present a discursus on learning and teaching in the context of art education that softens transcendent historical and ideological framings of art education and its purpose. In contrast it places emphasis upon the immanence and necessary transcendence of local events of learning that occur in whatever framing and which have the potential to extend our comprehension of what art and learning can become. It recommends a ‘pedagogical reversal’ whereby external transcendent lenses and their respective knowledge and criteria for practice are relaxed and proposes a pedagogy ‘without criteria’. A key pedagogical issue revolves around ‘how something matters’ for a learner in his or her experience of a learning encounter and trying to comprehend this ‘mattering’ constitutes a pedagogical adventure for a teacher. The notion of mattering in the context of art practice and learning cannot be divorced from the force of art which is the motive force that precipitates a potential for learning and can expand our understanding of what art and learning can become. The article is therefore premised on the idea that it is not a case of coming to understand art through established knowledge and practice but the force of art challenging us to think. The force of art, or art's event, can be conceived therefore as a process with a potential for the individuation of new worlds or to see that other worlds might be possible.  相似文献   

14.
This paper examines the onto‐epistemic status and understanding of contemporary material culture and of visual art, particularly in the context of gallery education. It does so through a case study of the response of 15 year‐old school students in the Czech Republic and in England to a recent photographic exhibition, I.N.R.I., created by artists Bettina Rheims and Serge Bramly. It supports and develops further the proposition that the tradition grounded in the concept of a single ‘objective’ interpretation of a work of art has been significantly undermined by the paradigmatic change that has taken place in the last decades. In the course of this process the vocabulary of signification (e.g. doves, the royal blue, temptations of Christ, class struggle) inherited from the age of ideologies and grand narratives has been significantly weakened. In its place there emerged the vocabulary of signs born out of the language of high tech media. It takes the form of dynamically constituted units identifiable via daily exposure to techno processes, e.g. familiar from advertising and networking, at best mere fragments of traditional narratives. The recognition of reality is couched in terms of consumer units originating in objects (e.g. gadgetry) and object‐based practices filling (indeed constituting) the living place of today. This shift is particularly apparent among English young people, brought up in a more consumer‐oriented society, and to a lesser degree among Czechs. This is well in keeping with the concept of the post‐modern ‘empirical spectator’ developed in recent literature on art and material culture education.  相似文献   

15.
Forty invited interculturalists (both academics and non-academics) from nine countries engaged in developing a coherent culture of dialogue and collective action to address the challenge of redefining intercultural education provisions with regard to the needs of refugee children. The method of cooperative inquiry to elicit theoretical and professional expertise from the participants was adopted. This inquiry was based on four dimensions of reflective practice, drawing on experiential, presentational, propositional and practical knowledge. The intercultural experts (seen as ‘co-researchers’ and/or ‘co-subjects’) who participated engaged in a rigorous intercultural and reflexive dialogue developed in four distinct phases. The first two phases took place in their own local contexts and the final ones in a forum organised in Greece. During the forum, the participants’ diverse knowledge and experience were renegotiated to ascertain the ‘collective wisdom’ of the group and to address issues of otherness and approaches to refugee education, teachers’ training and mediation. The consensus reached by the participants included the following: the need for local communities to be supported so as to avoid and mitigate any hostility towards refugees; the urgency of a common European asylum policy; the realisation of the ‘other’ as a social construct based on hierarchical connotations and defined by diverse (meta)narratives; the urgency for providing formal/mainstream education to secure a pathway to social citizenship for refugees; the adoption of culturally responsive education practices to empower intercultural learning using refugee children’s own cultural knowledge and collaborating with parents; and the need for systemic intercultural and mediation training for teachers.  相似文献   

16.
In the last decades theories that emphasise visitors’experience as the key element in the process of meaning‐making have influenced art education in museums considerably. However, there is remarkably little evidence in practice that museums shape their exhibits and educational tools by the actual experiences of visitors. Because museum education is still too much knowledge‐based, people often do not come to understanding or engagement of thinking. This article demonstrates this inconsistency and its consequences based on visitors’conversations during a museum visit while looking at contemporary art. In order to engage visitors into their own thinking and create lasting experiences, the article also investigates Dewey's ideas about experienced‐based education and inquiry learning. The study especially shows that experiences felt as obstacles for interpretation are extremely suitable to stimulate, deepen and improve visitors’engagement in the inquiry cycle.  相似文献   

17.
Current policies at both the state and national levels emphasise the need for increased attention to teaching children with special needs and more extensive school‐based experience in teacher education courses. This paper reports an in‐school experience which was an integral part of an on‐campus subject that focused upon teaching children with special needs. It also addressed a range of issues currently of concern in pre‐service teacher education, including the nature of the in‐school experience, managing the needs of children with learning difficulties in an integrated classroom, overcoming the socialising effect of block practice teaching, reinforcing the relevance of campus‐based subjects, maintaining a balance between the formal teaching expectations and the nurturing roles of teachers, providing teacher educators with recent and relevant in‐school experience, and producing reflective teachers with an understanding and appreciation of the ‘art’ and the ‘science’ of teaching.  相似文献   

18.
To date a significant share of the European population can be considered at risk of social exclusion. It has been argued that adult education programmes are a powerful tool to support vulnerable adults increasing their social inclusion. This study aims to answer the question if and which subgroups of vulnerable adults experience an increase in social inclusion after joining adult education programmes. The results of our study show that 46.3% of the participants experience an increase of social inclusion in terms of ‘activation and internalization’ and 41.0% experience an increase in ‘participation and connection’. Results show that foreigners and people who live together experience a higher increase on variables of ‘activation and internalization’ and ‘participation and connection’. Furthermore, results show that learners who received school education at a primary level and have no professional qualification experience a higher increase of social inclusion on a few variables of social inclusion.  相似文献   

19.
Projection‐based augmented reality and virtual reality are used in a visual arts‐based educational project in contemporary art museums from an a/r/tographic perspective. The project ‘Art for Learning Art’ (in Spanish, Arte para aprender arte), at the Museo CajaGRANADA in Granada (Spain) has been developed in collaboration with the University of Granada since 2013. We have employed creative, educational and research methodologies inspired by exhibited works in art museums to encourage visual feedback of visitors participating in collaborative installations. Two such experiences also were produced at the Tate Liverpool Gallery and Museum in March 2018; utilising the methodology of mediation through projection‐based augmented reality and virtual reality, which introduces facets of visual and physical experience that alter the whole experience for the museum's public. By putting on virtual reality headsets, and playing with physical movements, we generate images and change the projections in the museum using projection‐based augmented reality to disrupt the way the public typically moves in the museum. The purpose of the developed interrelations with artworks in the Museo CajaGRANADA and the Tate Liverpool Gallery and Museum was to create collaborative digital images by playing with select artworks exhibited in the museums’ collections. We use this kind of mediation in art museums to develop a visual understanding to provoke learning about art through art creation in a contemporary way. The results are extraordinary as images; they are collaborative artworks, which connect visually with the artworks in the exhibition.  相似文献   

20.
In order to verify how important the ability to process visual images and sounds in a holistic way can be, we developed an experiment based on the production and reception of an art work that was conceived as a multi‐sensorial experience and implied a complex understanding of visual and auditory information. We departed from the idea that to foster processes that encourage constructions of significant meanings it is necessary to abandon vision/audio‐centric notions of objecthood and offer a general definition of the perceptual object. The test was realised between the participants after modifying the performance conditions: some could not see the visuals, some could not hear the sound and others could appreciate the performance as a whole. Considering the results, we could infer that only the possibility to ‘read’ the performance as a whole encouraged construction of significant meanings. It would be possible to upgrade the approach, turning visual literacy into perceptual literacy, to contextualise artistic production that stimulates hybrid sensitive experiences. The education of critical perceivers should also enable transformations in responses to different stimuli. This is important if we consider the individuality of each student, his or her needs, affinities, cultural background, gender and so on.  相似文献   

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